InCompany by Attire Club Autumn 2018

MARCH 21 ïš» 26 W W W. B AS E LW O R L D . C O M

Editorial: The Rebel Issue

F says no.”

rench philosopher Albert Camus wrote in 1951 a book-length essay called “L’Homme Révolté” (“The Rebel”), in which he focused on the metaphysical and historical development of rebellion in the world. His essay can be boiled down to a simple quote from it: “What is a rebel? A man who

The October 2018 issue of InCompany by Attire Club is dedicated to all those who break boundaries and say a clear “no” to the world at hand.

Rebels are, in the end, the people who drive society, they are those who dare not only to think outside the box, but to confront the world and establish a new standard.

Culture has a strange way of working: the establishment always opposes the rebels, yet later praises them, at the same time while opposing the new rebels. This is the way it has been since the earliest days of humanity and is a phenomenon that is still happening today.

Rebels are people who look beyond the immediate and who act in ways that are not understood by their environment yet, whether it’s by creating something new, by saying something “outrageous” or by acting in a special manner. However, as it happens, they are the ones who shape not only the future, but often the present as well, sometimes even without the knowledge of others.

If one is to ponder on this idea for a while, one will soon come to the realization that each era is defined not so much by its status quo, but by the ruptures in the fabric of culture. Each time is described by the new and the misunderstood.

Being a rebel should not make us renounce or give up though, it simply means to engage more with life and to work on shaping it in the manner we want. After all, Camus’s quote goes on and says “What is a rebel? A man who says no: but whose refusal does not imply a renunciation.”

The Attire Club Team

3

InCompanytAttirehClub Released by FRAQUOH AND FRANCHOMME Chief Executive Officer Dan Dimitriu Creative Director Iosif Trif Write letters to the editor iosif.trif@attireclub.org Visit our website attireclub.org Contact & Advertising office@attireclub.org Address Theresiengasse 50 Top 1 1180 Vienna Austria Telephone 0097 150 12 801 73 Follow us Facebook: facebook.com/attireclub

Twitter: twitter.com/attireclub

Pinterest: pinterest.com/attireclub

Instagram: instagram.com/attireclub

Tumblr: attireclub.tumblr.com

4

Which one is the fancy car?

Shot in Basel, Switzerland Photo: Attire Club

5

Contents

Autumn 2018

Editorial

The Rebel Issue The cycle of rebellion. u3 Fashion World CEO & Founder of MB&F Maximilian Büsser The entrepreneur and designer shares his history and talks about why it’s important to stay true to yourself both in business and your personal life. u 10 Commentary Trendbreakers There’s no trend without a trendbreaker. u 17 Art & Culture Agenda Playing to Win An overview of the 2018 edition of the Transylvanian International Piano Competition. u 21 Looks Theory 4 Autumn Essentials Small things for a good autumn. u 26 Metafashion Are You Self-Conscious?

How being self-aware can turn into a tool to enhance yourself. u 36

6

A Report on the Party and the Guests Vienna Fashion Week: The 10th Edition A fashion anniversary in the Austrian capital. u 40 Trends New Course: Trends for AW 18-19 Coloristic preview, themes and more! u 48 Secrets of Fashion The Origins of Wearing Ripped Clothes 80s teens were not the first to do it. u 54 In Their Own Words Fashion Designer Eliran Nargassi The Israeli designer opens about his life and creative process. u 56 History of Fashion Fashion and Ideology: An Introduction Because fashion is not just skin-deep. u 60 Style Guide 6 Reasons to Get a Leather Jacket The fashion, the symbol. u 64 Travel & Culture K for Kiev The Ukranian capital takes the stage... u 70

7

Fashion & Technology Top 3 Uses for Fashiontech What it is really good for. u 74 Current Obsessions October Watches Watches with character. u 76 Fashion Ahead Electronic Tattoos by DuoSkin Wear your office! u 78 In Their Own Words Designer & Entrepreneur Gus Dantas From Rio, to Rio. u 80 The Attire Club Mood Diary Our Moodboard as a Visual Journal Court Dress & Heraldry u 84 AC World Frames & Leaves A look back at AC’s Style Portfolio u 96

Discover the Brands Presented in this Issue Use your device of choice to discover the websites featured in this issue. u 100

8

YListen to a song with the cotents!

QR Code Glossary

InCompanytAttirehClub

The Smart Magazine Attire Club is offering a complete men’s style, fashion and lifestyle experience, centered around the AC website.

To discover our universe and over 1000 articles that will offer you the tools to develop your style, as well as fashion inspiration and cultural insights and to interact with us and be part of our community, visit us online.

attireclub.org +See our QR Code Glossary at the end of the magazine

FASHION WORLD

CEO & Founder of MB&F

Maximilian Büsser Maximilian Büsser is the CEO and founder of the MB&F (Maximilian Büsser & Friends) watch brand. Before embarking on this very personal journey, he was the CEO of Harry Winston Timepieces and a senior manager at Jaeger-LeCoultre. In 2005, he founded his own company, which focuses on creating three-dimensional kinetic art that he calls “Horological Machines”, as his wristwatches and other creations are very avant-garde, unique and highly conceptual. In 2011, Max also founded the M.A.D. Gallery – short for Mechanical Art Devices, in Geneva, Switzerland, in which visitors can see not only his creations, but also those of other artists. Today, there are three such galleries in world, located in Geneva, Dubai and Taipei.

For this exclusive InCompany by Attire Club feature, Max has opened up about creativity, why it is important for him to stay true to himself and how he balances the art and business sides of his work.

The Swiss entrepreneur is a real maverick in his own way and his insights are thought-provoking and definitely helpful to anyone looking to find his way in the world.

“Our customers are as much rebels as we are”

M

ax was born in 1967 to an Indian mother and a Swiss father, who was a diplomat for the small mountainous country. He was born in Italy and spent most of his childhood in the French part of Switzerland. “I always dreamed to be a car designer”, Max recalls when thinking about his teenage years, during which he sketched a good amount of cars. Thus, it seemed only natural that when he 18, he told his parents he wanted to enroll in a new car school

which had just opened in Switzerland. However, the costs for attending the school were extremely high. “The price in those days was 50 000 Swiss francs”, Büsser recalls, “today it would be an enormous amount of money, but 33 years ago, it was a humongous amount of money.”

This was definitely an issue, as his father was middle class and could not afford it. “He went white”, Max remembers, “but a week later, he came back and said «you know what, we know it’s your dream, we’ll try to

10 Legacy Machine No.1 X Xia-Hang

11

Legacy Machine N°2 Titanium

find the money»”. While his dad’s gesture was highly appreciated, Max realized that it would probably be very hard for him to gather that kind of money in such a short amount of time. So he decided to do engineering first and then he would specialize in design – this way, he would be able to create the things he dreamt of.

However, during his years at the university, Max became passionate with watchmaking. This was in a time when classic watchmaking was not popular at all, which made Max’s passion downright anti-mainstream. He recalls: “Mechanical watchmaking was dead. Nobody wanted to buy a mechanical watch because quartz was much cheaper and more reliable… What happened was that during my 3rd year, were given a project which mixed engineering and psychology or engineering and sociology – and I chose to do a project on why people still buy expensive mechanical watches. I really did not understand why people still did that. So I sent letters out to all the brands. At the time, those brands were quite small and rather not well off. However, because the brands were so small I got a reply from the CEO of each company. They all told me they would give me one hour if I wanted to meet with them, so I actually met the heads of Jaeger-LeCoultre, Audemars Piguet, Breguet, Vacheron Constantin and many more. And all these people told me in essence the same thing, «We know what we do is pointless. But it’s so 12

beautiful». And for me, that was a shock. Maybe today it’s different, but when you did engineering studies 30 – 35 years ago, nobody talked about the notion of beauty, it was all about efficiency. The other thing they talked to me about was humanity. These men were talking about how they keep the craft going as a continuation of the hard work of all their forefathers and that it was for their fathers and grandfathers who knew and mastered classic watchmaking that they were doing it.

I remember being completely in shock – it was the first time anyone was talking to me about beauty and humanity linked to engineering.”

T

his moment of discovering the emotional worth of watches echoed with an earlier moment in Max’s life, when he was 18 and his parents, like all Swiss parents, wanted to give him a watch as a gift. They offered a budget of 700 francs, which was a quite a lot of his parents back in the day. So he started to go from store to store and check out watches, seeing what could be bought for that sum. However, his attention was drawn when, soon after

starting college, he was sitting down next to a colleague and noticed the watch on his wrist. He engaged him in conversation about his watch and found out it was a Rolex. “I had never heard of a Rolex before”, Büsser explains, but he was intrigued into finding out more. “He said his watch was worth in those days 4 700 francs. And my jaw dropped.

This was the salary I was making in a year, working as a cinema usher in the evening and doing all kinds of small jobs. That was the first ever time when watches came into my radar… And so, one thing lead to another…”

As it happened, his first real job was with Jaeger-LeCoultre. “I started there when Jaeger was quite nothing. It was coming out of a series of near-bankruptcies and we

were a bunch of crazy people who were in love with what we were doing. But there was no glam, no money, no celebrities – it was all passionate people, all crazy people. I did 7 years at Jaeger, which were incredible, and then I got head-hunted to become the managing director of Harry Winston Timepieces. I went to the interview because I was sure I had no chance. I was just a small manager. But I got the job.” Max says. What he did not know though, was that Harry Winston Timepieces was at the time virtually bankrupt and that Harry Winston, the brand, had been put on sale the week after he got the job, because the company was in bad shape.

W

hen pondering on that time, Max says “What should have been the most beautiful year of my professional

life became the most horrible year of my life.” He had to save the company with virtually no help from the brand and this really took a toll on him. The time between 1998 and 99 left Büsser not just exhausted, but also with medical problems, as the 18-hour long workdays left him with a case of ulcer. In the end, the company was saved and it taught Max an important lesson about what he is capable of doing in terms of management. The success, however, had a downside as well. Max remembers, “The more success I had, the more money I gained and the more power I had, the less I was enjoying myself. I couldn’t understand why and, more importantly, I felt guilty; when you come from the type of background I come from, and are suddenly the poster boy of a generation enjoying money, success and having your face in the newspaper – you are not allowed to be unhappy. And then, my dad passed away, on the 31st of December 2001. At the moment, it did not really impact me, but a year later, whenever I would see a movie where a son lost his dad, I would cry in front of the television. So I decided to go into therapy.

Which for a European is not easy at all. So I did 18 months of therapy, and that helped a lot. At one point, after things had cleared out, the therapist said «So we talked about your dad, but if you walk out now and get hit by a HM5 Carbonmarcolon

bus, what other regrets would you have?» At that point, I realized in shock that I hated my life, and I was so not proud of what I was doing. Not that I was doing anything that was reprehensible; but the little boy, who used to be an artist, had become a marketing man.

All I was doing was creating products because I thought they would sell.”

A

nd so, Max decided to change his life and his work. He decided that to be proud of himself, he needed to create a brand where with no shareholders and where he can do the things he believes in, without any external pressure. Max also realized that he was doing a disservice to his roots, an idea strongly connected to what he had learned when he had done his university project. “I realized my parents were probably the most honest and respectful people I’ve ever met. And, in work, in business, you have to deal with some absolutely horrible people… and I realized that I was transgressing the values my parents had instilled into me. And that is when I decided to make my own brand and call it MB&F, Maximilian Büsser & Friends.

I decided I was going to work just with people who share the same values. Only with people who are honest and respectful – otherwise I don’t want to work with them.”

13

The Music Machine 2

A

nd that is how the MB&F story started. Surely, the start was tough, there was not enough money, no working space - Max was working out of his flat, but the work had begun. The core of the company was back then, in 2005, the same it is today: staying true to your aesthetic vision and finding likeminded people, wherever they may be. A very important aspect of Max’s approach to MB&F is that he makes absolutely no compromise from a creative point of view. With MB&F, Max has decided to make only the things he wants to make, not really thinking of whether people are going to like it and if they are going to buy it. Surely, there have to be people in the world who will connect with his creations, so spreading the word about the company is essential to its success. Moreover, to be able 14

to sustain a small company, Max has found it essential to be honest about what he can and can’t do, where he is good at and where he is not and to find the people who can excel in the areas where he can’t, so that everything works as well as it can.

W

hy you do something is another key aspect to Max’s view. For years, he’s been traveling around the world, spreading the word not just about what he does, but about why he does it. In many ways, it can be said that our motivations are what brings us closer, so giving a people an understanding of why he does the things he does is a key component to a successful small business.

A

company with an accent on originality and personality will definitely have a rather hard task in finding clients. But, what Max has learned over the years is that the more out there you go with a piece, the more it will be appreciated by “the tribe”, as he calls the wearers of MB&F pieces. “The worst thing you can do as a creator is to subdue your own creativity”, says the Swiss watchmaker. “If you create an artistic object, go as crazy as you can” he continues.

What Max has found is that regardless of where the people who wear his watches come from they all have the passion for individuality. According to Maximilian, for the MB&F customer, it’s more important to express himself than his status. Thus, even though a piece from his brand may cost the same or more than one from a well-known brand, signaling

HM9 Road Edition

status is not the first thing his clients want to do.

W

hen describing his customers, Max says: “our customers are as much rebels as we are, meaning most of our customers are first of all, entrepreneurs, they all have a state of mind based on independence and they are people who don’t give a damn about what other people think of them.”

The people who identify with Max’s brand look for things that are obviously out of the ordinary. And what’s more out of the ordinary than visionary pieces that look as if they have just stepped out from a sci-fi movie? Not to mention the fact that the MB&F pieces are all built with Swiss precision.

The inspiration for the pieces comes from the mechanical watches of the 18th and 19th centuries, which are deconstructed and reconstructed in a completely avant-garde manner. This is a long process in itself: 2 and a half years go into R&D, another year and a half are dedicated to manufacturing and hand-finish 500 – 600 components that go into the watch and another month to assemble them. Surely, the

T

pieces indicate the time, but so does any phone. Thus, the purpose is the sculpture itself, is the concept and the way it is thought and constructed.

he success of the MB&F pieces has also helped Maximilian become more creative. “Success is what allows you to be more confident, because it’s very difficult to create when thinking that you’re going to bankrupt your company.” But the rebellion and the anger towards different aspects of his life have also lit a fire under him. “When you become more successful, you lose a lot of the anger, because anger is an important part of your creative process” Max says. This is why, he believes that once you lose your anger, or a good part of it, you need to rebel against your own creation. To avoid becoming only self-referential Max enjoys exploring new territories and to embarking on new projects. He realized that he works on a 7-year cycle; he was 7 years at Jaeger-LeCoultre, 7 years at Harry Winston and has now worked 14 years at MB&F and it was in the 7th year at his own brand that he developed his gallery concept. So, it is only normal for Max to look for new horizons. This is why, he is now preparing his first ladies watch – not be-

cause there is market for that, ultimately the MB&F aesthetic is a rather male aesthetic, but because he wants to celebrate his wife and daughters, who are the only people in his family and because he felt the need to create for someone else. “As you know, the only thing we’re sure about men is that we don’t understand women… so it was really complicated… but I’m proud of what we will come out with.” A second brand is also in the works, which will offer more affordable watches, but that still has a long way to go.

Starfleet Black Badger

MB&F and Max’s vision and life are for the books. They go to show how in the light of being and having something you want and like, the struggle makes it worth it. Max seems to be looking ahead with optimism for himself and his endeavors: there’s still a lot to do, but where the creative journey will take him next, we can’t really know… in the end, the unexpected is the essence of his soul.

Discover MB&F at mbandf.com 15

16

COMMENTARY

Trendbreakers.

The fashion world is strongly connected to the concept of trends. In many ways, this is a natural thing; as fashion is a reflection of what is going on in the world in the present and of how people in society think, hence the forward-looking aspect of the fashion world. However, there is a very important category of fashion movers out there, and those are the trendbreakers.

“Trendbreaker”

is not a term that is used or talked about under other names, so a definition might come in handy. By “trendbreaker”, we mean a designer, brand, blog or any other type of influencer that goes against the current and manages to influence the fashion world. Of course, there are always niches and divergent perspectives in fashion, as in any other field, but the difference between niches and trendbreakers is that a trendbreaker manages to bring something new to the mainstream. Thus, a trendbreaker makes something that is connected to a niche or that is considered unconventional – conventional.

The reason why these people

and brands are important is because they have the capacity to shape visions and change the current mindset. In many ways, it can be said that these disruptors are essential to the evolution of fashion. Other-

wise, it will all become nothing but an echo chamber. And this is when things get boring.

Unfortunately, this seems to be the natural way of things.

After something unconventional and new becomes mainstream, it becomes regular and, in the end, overused and redundant. Take for example the concept of feminine or feminized clothes in men’s collections. Of course, in a world that saw nothing but suits and ties, dressing up a man in a feminized garment or downright a dress is provocative. It challenges the way we think of clothes, of gender and of sex and allows those who don’t feel that they have a voice to make their case and be seen by the larger society. However, once almost every other collection has at least one drag look, the provocative aspect gets lost.

And insisting it’s provocative and mind-challenging becomes just background noise and old news.

Today in fashion, we see a lot of dystopian, oversized, “deconstructed” garments. Making clothes from scraps and finding beauty in reimagined items was novel a decade ago, but now it seems that there is nothing new or fresh. So, when someone comes along with a polished, clean and elegant collection, it just seems that that they invented the wheel in front of your eyes.

T rends

are also odd in that they are quite divisive. This applies to very big trends, not to smaller ones o secondary trends, such as colors, patterns, etc. Big trends are described by shapes and concepts. For example, if oversized sportswear is “in”, then everyone who doesn’t like sweatpants, not even “athluxury” sweatpants is going to be an outsider. Fortunately, the fashion world today is diverse enough to find alternatives – the only problem is that sometimes finding the “alter17

native” can be harder. This may sound like an outdated idea, but it is not outdated yet. For most people in the Western world, fashion is accessible and finding what you want is not hard: there is fast shipping, free shipping and a variety of clothes to choose from. But for those not living in countries like France or the USA, things can get trickier.

In parts of Asia, Eastern Europe, Latin America, Africa and the Middle East – which is most of the world – fashion is not so accessible. Most people who live in these areas really depend on what stores import and most of the times, stores import only clothes they will know for sure will sell and those are generally neutral basics. Surely, young men with an interest in cool pieces can order things online, but sometimes the cost of shipping can turn out to be more than the actual garment. Say you want a really cool hat you saw online - you can order it through Amazon to your home in Armenia, but the shipping costs will be in the hundreds of euros, not to mention customs taxes which you will have to pay when your package arrives. Better said, if the package arrives or if there even is a shipping option to your country.

Thus,

to circle back to the point, finding something that represents you can be tough in most parts of the world. Just to be clear, the solution is not to stop having trends, but to make fashion more accessible and more diverse in various 18

parts of the world. This, however, is not going to happen without a mentality change.

People need to assume their wants and to have enough economic power to influence the market, which is quite a complicated thing to do.

This is how entire parts of the world don’t have much access nor to the trends of the moment, or to the alternatives.

B ack

to trendbreakers, the question that seems to be the obvious one is whether trends should change more often or more rare. This, however, is not of such a big importance. The issue is not when trends change – this is obvious, trends change when society changes, but the thing we should all look at is how trends change. Over the last decades or so, it seems that fashion has had a very linear way of evolving, there have not been many disruptions, which means that the same concept has evolved.

Is this a good thing or a bad thing? We don’t know, but it certainly means that only one major perspective is represented and the struggle to connect the fashion world to the everyday market, especially in menswear, goes to show that there is a disconnect between the ideals (to not say ideology) proposed or imposed by many labels and the needs and wants of the average (and not so average consumer). Brands that offer classic menswear, such as Armani or Hugo Boss still have a strong following, because they meet with their customers. These brands understand that trends should

not mean just the way you as a brand see the world or want to see the world, but that trends also mean the way consumers perceive this world – their attitude over what happens and over the direction in which the world is going. That’s the secret and key to success in fashion.

M ost likely, there will always

be a culture and a counter-culture, which influence each other and theoretically bring new ideas to the table – the issue is that what we’re seeing now is a suppression at a cultural and economic level of counter-culture. Surely, this has always been the case – those who were not the sweethearts of the mainstream have always had a tougher time, but now, with the advent of social media and instant communication, this process seems to have deepened. It’s unclear what will happen in the near future: will there be a clash of visions and people, will there be a complete symbolic annihilation of an entire segment of the population or will people simply diverge into opposing groups that don’t really talk much to each other? The last scenario is the most optimistic, even though it’s not a positive one at all. It remains to be seen how things will evolve and what the next trends in trends will be.

Your Style Is Worth Your While

AttireClub.org

Nikita Volov

20

ART & CULTURE AGENDA

Playing to Win The Transylvanian International Piano Competition held its second edition this summer and opened its doors to a new series of talented pianists and piano lovers from all over the world. It’s a great cultural initiative that Attire Club gladly supports and encourages. Discover the story of the competition in these pages.

Photos: Attire Club

21

Winner Nikita Volov

22

the art scene, which remained drained out and empty at the end of the decade.

loved bringing to the town the best of what the world had to offer in terms of music, painting and literature.

The placement of the town, connecting the Eastern world with the Western world has made it a melting point of cultures, opinions and ideas.

Even in the quasi-soviet 1980s, this city located between the mountains had a cultural scene that included a piano competition. But as the times changed and the politics of the country changed, so did

It took a lot of time and effort for the city to rebuild itself after communism and to regain its position as an important meeting point in Eastern Europe. Many motivated and engaged people fought for the name of the city and little by little transformed it into one of the top destinations of South-East Europe. Today, tens of thousands of tourists from all over the world visit this medieval city and hotels even have a hard time keeping with the demand. The natural surroundings, the nearby skiing resort and the beautiful landmarks and restaurants draw numerous visitors who want to get their hands in deep in the Transylvanian spirit.

As tourism grew, so did the cultural scene and even though the town still hosts some festivals and events, there is still a lot to do until the city can reclaim its glory. This is The venue of the event

Ioan-Dragos Dimitriu

rasov is a town in the Romanian Carpathians that has always enjoyed art and culture.

Even back centuries ago, the city had a population that

Dioszegi Bnejamin

B

Horia Mihail on the piano

Finalist 23 Anastasia Churbanova

through tremendous change (especially in terms of mentality) would not be a cake walk.

Would people show interest?

Would they come? Can it be economically sustained? These are all questions that come in naturally when trying to establish such a great endeavor.

And so, in July 2017, the first edition of the Transylvanian International Piano Competition took place. It was held at the hall where the local philharmonic plays during the spring, summer and autumn and it was a true success story, as about 60 contestants from 18 countries including Japan, Taiwan, Italy and Turkey participated. The stakes were high as the cash prizes were not forgettable and the grand prize included artistic representation and concerts in multiple countries.

The top 3

why, in 2017, Brasov-born pianist Ioan-Dragos Dimitriu set out on a hard quest: to bring back the joy of classical piano music to Brasov.

After having studied piano in Vienna and having performed all around the world, from Switzerland to Japan, Ioan-Dragos decided to create a competition that would bring together pianists from all over the world to Brasov. He knew it would not be an easy task – creating a piano competition after a 25-year break, during which the city went 24

Following last year’s success, it was decided that the 2018 edition would be longer, as two more days were added to the event. The contest was supported by many national and international businesses and organizations, who contributed to the creation of the contest. A special Bösendorfer 280 Vienna Concert piano was brought directly from Austria, which is a rarity, since pianos don’t often travel this much for concerts. But then again, how can you set the grounds of a world-class event if not by brining the best of the best? At the moment, the Bösendorfer 280 Vienna Concert is the best-selling piano in the world and has a value between 160.000 € - 269.000

€. Moreover, it is remarkable that besides the world-famous Enescu contest held in Bucharest, the Transylvanian International Piano Competition is the only Romanian competition included in the Alink-Argerich Foundation.

T

he week-long duration of TIPNOC (as the contest is abbreviated, where PNC stands for piano) was filled with special recitals and included an evening with performances by pianist Horia Mihail, who is the moment’s top Romanian piano player and who was also a member of the jury and by Ioan-Dragos Dimitriu, Antoinette van Zabner and Corina Ibanescu, who were also in the jury, together with pianists Paolo Baglieri and Stefan Arnold. There was also a Rotay Evening and a special recital by last year’s winner, Cadmiel Botac.

During the contest, emotions ran high as participants with ages between 7 and 28, divided into four age categories, competed to

impress the international jury.

Some parts of the event were also broadcast online, and the fans, friends and families of the contestants, as well as lovers of piano music could watch the contestants play the pieces they chose to present. In the end, the winner of the grand prize of the “Young Artists” category was Nikita Volov. The 26 year old Russian pianist played Prelude and Fugue in B major from the „Well Tempered Clavier”, 1st book by Bach, Piano Sonata in E flat major HOB. XVI/52, 1st mov. by Haydn and Transcendental Etude no.12 Chasse-neige by Liszt in the first round and Piano Sonata op.64, no.7 ”White Mass” by Skrijabin and Piano Sonata in B minor, S. 178 by Liszt in the second round of the contest.

And this is what it all comes down to.

The effort, the organization, the work, the travel, the promotion and everything else are in service of the music. When passions are high, when emotions burst through the artist, when self-expression and connection with the other cannot be overlooked, no effort is too big, no standard is too high and everything that stands in your power will be done.

Piano music is a stream of energy, it makes time and space irrelevant, as it is a dialogue between the composer, the artist and the listener. It is a transcendental experience, as it expresses through uncatchable, but recordable vibrations, feelings and emotions

Second prize winner Alexandru Prigalo

that cannot be otherwise explained. It turns the ineffable into a concrete experience of sound that leaves you with a new, this time around still ineffable, but processed experience. The music is not a mystery because it’s right there, but the mysteries are us, the people, as we decode the music, each according to our mind and heart; and when we connect on that note, on that special note, we know we’re alive and we know we’re connected; as, in the end, this is what human experience is all about: connection. That’s why emotions run so high in music, as performances are a way of overlayering experiences and creating bridges between the deepest places in our souls.

How else would we know we are cut from the same cloth?

How else, if not through art and aesthetics, would people, in the darkness of the everyday, know they can be blessed?

Discover the event at tipnoc.com 25

LOOKS THEORY

4 Autumn Essentials

26

Autumn is here and, once again, everything reshapes itself: nature, the daylight, the way we spend our time.

But, as part of this massive change that fall brings with itself, one also needs to change your wardrobe. Of course, transitioning from your spring-summer wardrobe to your fall-winter one is a gradual process, but there are some things that you should take out of the closet (or buy if you don’t already own them) that are essential autumn must-haves.

Besides all the sweaters, trench coats, warmer shoes, etc., there are a few autumn essentials that will make your autumn a lot better, from a sartorial point of view.

And, as we always say: when you look good, you will feel better about yourself, so taking some time to invest in your style is definitely worth it!

Here are the 4 autumn essentials that will enhance your style experience this year: Photos: Attire Club

27

28

Umbrella An umbrella is a true autumn staple. If you live in a windy town, make sure you have one that is strong enough to help you even in the worst of conditions. Otherwise, a pliable one should work too. Look for colors that go with almost anything, such as burgundy or dark blue. This way, you will bring some color to a gray day.

29

Gloves are not just winter accessories, as a lighter pair may work very well in the autumn time as well.

Search for light, leather gloves and you are all set. Remember, you might want to buy a neutral pair of gloves, in order to wear them with any color of clothes.

In fashion, neutral colors are gray, white, black, khaki, tan, ivory, beige, dark blue, brown, etc. You can wear these colors with each other and with any other color.

30

YRead this article with a song!

Gloves

31

Hats One of the things that might come in handy to many men in the chilly fall months is a hat, cap or any type of head cover. Hats come in all shapes and sizes and it really comes down to your personal taste and style what type you are going to use.

The reason why we feel a hat is a great accessory is because, even if you are a man who does not regularly wear a hat, you can make use of one when it begins to drizzle. These days, we often find ourselves in either crowded spaces where umbrellas are unpractical or in types of weather that are quite hard to define. In a way, sometimes, if it only drops a little, you might feel the need to cover your head, and in such cases, an umbrella might be too much.

32

33

34

Sweater vest Autumn is a season when the temperature differences between morning, noon and evening can be so different, that it is hard to know how to dress. The key to creating transitioning outfits is to make use of layers, which you can add on or take off, depending on your need. Sometimes in the fall, it can be really warm in the sun, but really cold once you step in a shadow area, so relying on something like a tank top or undershirt as a “layer” might not always be a good idea, as you can’t take it off and put it on easily.

This is why we encourage you to invest in a good sweater vest. A sweater vest is one of our favorite items. It is practical, as it doesn’t make your arms too warm and therefore you can wear it easily with a jacket, it is stylish, as it reveals more of your shirt than a sweater would, and, a sweater vest made from natural fabrics will keep you just as warm as you need – not too warm and never too cold.

These are our recommendations when it comes to fall essentials. Owning and using these items will ensure you that you will have a better autumn experience and that you will be sartorially ready for whatever fall throws at you. A hat, a sweater vest, a scarf and gloves are items that can help you greatly this autumn.

35

METAFASHION

Are You SelfConscious?

Having an interest in fashion means, at least to a certain degree, that you are a person who is conscious about yourself. Interestingly enough, fashion is in many ways a form of self-awareness or, to extend it a little bit, of self-knowledge. The reason for this is not only because you need to know what looks good on you and what doesn’t, but also because you need to think of the messages you convey through your clothes and accessories: why you wear the things you wear.

36

I

t can be said that quite often, fashion-oriented people are often associated with the idea of having a lot of self-interest.

Many times, this self-interest or self-worth are described through a negative lens, as if placing importance on who you are and showing interest in your emotions and physical presence in the world is a bad thing. Surely, there are negative extremes: people who are narcissistic and shallow do ex-

ist, but why should one jump right to the extreme?

Being self-conscious is based on asking yourself questions.

These questions can range from the more superficial: “do I prefer green over purple” to mid-level harsh questions such as “why do I prefer this piece this over that” to downright hardball ponderings: “who am I?” At times, the origin of our asking of questions lies in insecurity. While insecurity is a dreaded socio-psychological aspect of life, it is in

fact a rather positive part of one’s personality. Being insecure about something means that you believe, even if not consciously, that you can be better, that you have the potential and that you can do whatever it is you are trying to do. For example, if you are insecure about public speaking, you probably feel that way because you know you could do better: you have it in you and with some practice, you will get better. Many people feel insecure about their abilities to talk in public, about the way they write or do things and even about the way they

look. However, you won’t find many average Joes being insecure about their ballet abilities. That is because unless you have these ambitions and know you can do them, you won’t really care.

Thus, humbly recognizing your insecurities and filling them out by asking questions is a way to constantly improve yourself. It is a way to compare yourself not so much to others, but to yourself and better said, to who you were last year. Comparing yourself to others is also important, especially for men, who have a need to know where they stand in the hierarchy. But again, comparing yourself to who you were and knowing where you stand in your circle or hierarchy can be a positive thing which you can use to better yourself. A person who has a chronic tendency towards self-consciousness may be introverted or shy. Or maybe they are just a modest human being. But then again, the problem with deep waters…

Our bare presence makes us owe ourselves to better ourselves. This is not an easy task, but it is an important one. Asking questions about your nature is a crucial part of it, but the exact opposite is what makes the process complete. Simply letting go and seeing who you are will give you more answers than you could possibly think of. See what you want to do and say.

As British philosopher Allan Watts said, “let go and see 38

who you are.”

Overrationalizing everything will get you stuck in an outline of who you think you want to be or who you think (or who others think) you should be. In this sense, parts of life such as the internet can be helpful. In an anonymous forum, where you can do and be whoever you want to be – who are you? Who do you engage with, who do you consider your peers, what do you stand for, what do you discuss, what do you do? Often, the mask is the true face of the person. This should not mean that there should be no differentiation between one’s personal and private life, but discovering who you really are will help you strike a balance, understand the different facets of your personality and help you ask the needed questions in order to connect the two and make sure that you always feel bonded to yourself – it’s all about meeting your inner self with your outer self

into a cohesive and coherent view over your own person.

Abstractions may come in handy when establishing a frame for thought, but many people find themselves in the dilemma that they don’t really know how to better themselves. The solution (or one solution at least) is to practice the virtues you can see. As Marcus Aurelius said in his book, “Meditations”,

“practice the virtues you can show: honesty, gravity, endurance, austerity, resignation, abstinence, patience, sincer-

ity, moderation, seriousness, high-mindedness. Don’t you see how much you have to offer —beyond excuses like “can’t”?”

When conflicted, you simply have to grab the bull by the horns and play your role in your life. When in doubt, think of what an archetype you look up to, a model or just your idea of your best self would do. The trap can be to relate to a uni-dimensional idea of who you are or should be, which is why you should always keep asking questions and being flexible in mind.

In the end, a question that can put gears into motion is the

one about motivation. Why do the things you do? The answers are multiple: because of religious beliefs, because of the good you want to bring in the world, etc. Simply being a human being is a reason that seems to comprise them all.

But how to define a person?

Maybe cinema can be of help to answer this question, if we think about the character Clara Varner (played by Joanne Woodward) from “The Long, Hot Summer”, from 1958 when she said:

I’ve got quite a lot to give. I’ve got things I’ve been saving up my whole life. Things like love and understanding andand jokes and good times and good cooking. I’m prepared to be the Queen of Sheba for some lucky man, or at the very least the best wife that any man could hope for. Now, that’s my human history and it’s not going to be bought and sold and it’s certainly not gonna be given away to any passin’ stranger.”

“I am a human being. Do you know what that means? It means I set a price on myself: a high, high price. You may be surprised to know it, but 39

40

A REPORT ON THE PARTY AND THE GUESTS

Vienna Fashion Week:

The 10th Edition Vienna Fashion Week, officially called the “MuseumsQuartier Vienna Fashion Week� returned to the Austrian capital for the 10th time this fall. Between the 10th and 16th of September, local designers and their international guests showcased their latest collections and put them on display on the runway and for sale in the nearby pop-up store. In its 10 years run, MQVFW has become a regular event in the beginning of autumn in the social calendar of the Viennese glitterati. The reason why MQVFW is an interesting event is not only because it showcases the collections of many Central European designers, but also because it is a good representation of the zeitgeist of Central and Western Europe, as it is expressed through clothes.

Photos: Attire Club

41

T

he long-week event featured tens of shows, which included the already-traditional Thai night and presentations from the fashion design schools of Vienna. Moreover, designers like Richard Rozbora from Slovakia and Juan Carlos Gordillo from Guatemala made their return to the Viennese runway. Household names such as Shakkei, Callisti, Pitour and Anelia Peschev presented as well.

Besides the shows which constitute the heart of the event and the pop-up store where people can buy clothes and accessories not only from the designers who showcase their collections on the runway, but also from many others, this year’s edition was also complimented by the Vienna Fashion Festival. The festival feature some additional events that celebrated the design and shopping scene of the Austrian capital.

42

43

Callisti. Martina Mueller’s brand is one of the most anticipated shows of Vienna Fashion Week at every edition. This year, once again, the label served many looks that we can definitely see Martina herself would wear. The best look of the collection was probably the leather cape look – capes should be a new trend, shouldn’t they?

iCONiC. Presenting during the Thai night, Bangkok label iCONiC presented a very vibrant, colorful and dynamic collection. The looks definitely came as a strong contrast to the many gray looks presented during other shows. What we loved about the iCONiC presentation were the layers of cool: different types of fabrics, colors and accessories all came on top of each other; resulting in great and surprising looks.

Tamar Morali is the current reigning Miss Germany.

The first Jewish lady to ever hold this title won last year’s style competition during MQVFW. She was then encouraged to enter the Miss Germany competition and returned now to Austria for an evening at the MQ.

44

Munzaa. Returning as “Artist-in-Residence”, Thai label Munzaa presented a new collection of organic materials that look comfortable, but very modern and soft – which is not a frequent combination. The label also presented a few men’s looks with some great details. The menswear was much appreciated, as most of the shows of MQVFW were 100% women’s shows.

Juan Carlos Gordillo. Designer Juan Carlos Gordillo’s presentation was once again a big buzz generator at MQVFW. The designer known for his play with denim and for his passion for the United States offered once again his signature style in a collection which played a lot with the concept of balance, with prints and patterns and with cool patchwork.

Rozbora Couture.

Placed last in the MQVFW schedule (which ensured a full house), the Rozbora show was one of the top presentations at the event. Slovak designer Richard Rozbora went this season for a rather conservative aesthetic, but made sure to use fine knits and soft fabrics for a collection that felt dynamic and highly approachable.

Musette. Obsessing with an over-sized theme, Musette went all the way out and used contrasting colors, big letters and high platforms. One must be seen after all‌ isn’t this what fashion is all about?

Pitour. There was something very structural and downright architectonic going on at Pitour this season. Maria Oberfrank presented a collection which reminded us very much of the late years of constructivism. However, we could also see a strive for the organic, for a balance between the very structural and 45 the natural.

Lenka Srsnova. Slovak designer Lenka Srsnova presented one of the top collections from the event: she made use of colors and prints, without overdoing it, she kept it cohesive and coherent and presented different versions of the same idea, all while making sure the collection stays true to the designer’s style and not going in many different directions.

This newcomer is someone who we’re definitely going to look out for in the near future!

Issi. Thai label Issi by Frank Weeneggsinn presented a collection where the focus was on the details.

Careful pleating, constructions and tweaks were all done on black and white clothes for the summer.

A closer look at the clothes in the showroom definitely helped complete the experience, as many details could have gotten lost on the runway.

Chirimoya. Promising Columbian brand Chirimoya presented a look during the Showroom show. For this look, designer John Bocanegra played with the contrast between a very classic silhouette, which was modernized through the use of soft, almost sporty fabrics and a rather minimal approach to construction. Two bags were added because two is often better than one.

Kayiko. The Viennese brand offered a true thought-provoking show, which combined a very dark part with a very colorful one. We’re still not sure whether the idea was one of a turning wheel, of a secret part hidden in all of us or of a merger of oppositions – but the conversation continues.

46

Smaranda Almasan. Romanian designer Smaranda Almasan was one of the big surprises of this year’s Vienna Fashion Week. She presented a collection featuring many colorful trench coats (which you don’t really see every day) and lots of looks composed of clothes with patterns. The pattern combos made real sense and were not done just for the sake of mixing patterns – this is what we like and want to see more: fashion with direction and purpose. The collection was so powerful that it even withstood the storm outside and the power outage.

Weber + Weber Sartoria. Practical and ready to be taken home, the Weber + Weber Sartoria collection combined once again their two signatures: Austrian design and Italian craftsmanship. You can’t really go wrong with such a combo, can you?

Prototype.

Schumacher.

Not only is Sigrid Schumacher a true couturier, but the German designer from Bremen also has a stunning collection of jewelry, a part of which she brought to showcase at her booth at MQVFW. Anna Etter. In fashion, terms like “elegant”, “sophisticated” and “refined” have become quite common clichés. However, Anna Etter’s collection was a true embodiment of these terms: the fabrics looked rich and expensive, the cuts were feminine and soft and the overall design appeared rich and fresh.

47

TRENDS

New Course: Trends for AW 18-19 In fashion, from concept to creation, there is a long way: colors and themes are established, motifs and ideas are chosen and every detail is put in place.

All these elements are a reflection of what is going on in culture, and the more global our society, the more global the trends.

Here is a breakdown of what shapes this autumn’s aesthetic.

48

Photos: Attire Club

Coloristic Preview

Colors such as deep blue and purple are some of the stars of the season.

Different versions and shades of these colors, such as less saturated understudies of purple and violet are also a reflection of our extremely pensive time.

The deep shades of purple and blue are balanced out and complimented by dusty, but bright colors such as beige, green or orange-red.

Dust, flowers and hand-made objects are the things where people look for ways to express who they are and their thoughts.

49

Another interesting chromatic approach to the season is the heavy use of beige and brown.

These colors can look really royal and rich if used in the proper shades: think gold or suede. Dustier shades can have a great effect, as they give out a timeless and effortless vibe out, and very often have the ability to soften the wearer’s features.

50

Wearing closely-related, yet clarly distinctive colors will make you look subtle and elegant. Some might even say it’s th paramount of sophistication.

Accessories: Scraps & Bits

Call it rags to riches or whatever you may want, but it seems that found bits and pieces are the raw materials used for new accessories. The upcycling trend based on the “no waste� mantra has unleashed the creativity of designers, labels and manufacturers to create new objects from anything: may it be a couch that gets transformed into a jacket, a pillow case that becomes a phone sleeve or an old music player that gets morphed into a brand new bracelet.

Giving new meaning to things is definitely significant with people, as they create a new folklore and a new way of looking at the things that have shaped their past, their influences and how at how they can shape the present in order to construct the future.

51

Shapes: Rich Flora

The charming world of flowers and their mysteries and often overwhelming colors and variety of shapes is a nod back to nature that people desperately need. Flower gardens can be hypnotic and even disturbing but beautiful and soft at the same time, which is a great inspiration concept for one’s outfits.

Flowers may not be very common in menswear, but men can take these totems and use them in small details, such as buttons of different sizes, cufflinks or even abstractized models and captivating motifs.

Bugs and other garden-related elements are also some of this season’s big staples.

52

Pants by Attire Club

Concepts: Reshaped Folklore

Folklore has been “in” for some seasons now, even though in many cases it is not exact on whose folklore designers and creators base their outings.

However, colors that can be naturally obtained in soft, natural shades are definitely the shapers of this theme. Geometrical and thoughtful, yet naive and childlike compositions, extremely simple patterns and many natural mofits are also at the basis of this trend.

Whether it is drawn from Scandinavia, Nepal, Japan or South America, the works of old cultures are a great relflection of today’s society, which contemplates about the old and the new and the ways in which these two can be connected - from technology based on old concepts to hand-sewn embroideries, the look back to the simple life is clearly on the rise.

Folklore is a rather wide concept, but it can be noticed in the multidute of knits, oversized, drapey clothes, quilting and other “traditional” techniques.

53

SECRETS OF FASHION

The Origins of Wearing Ripped Clothes We have all seen and maybe even worn clothes with holes in them - they are extremely popular and one can find lots of ripped t-shirts, jeans and even jackets in stores around the world. While we all know that this style became trendy during the 1980s and 90s, it actually dates back many centuries before the teens of the late 20th century took them to the streets. Here is the history of ripped clothes...

T

he trend of wearing clothes with cuts in them began to go really strongly around the 1980s and gained much popularity among teenagers and young adults in the 1990s.

W

hile it never completely disappeared from the fashion scene, it wasn’t that much around during the 2000s, but it reappeared after 2015 or so, as more and more people started wearing ripped clothes. These clothes, which were now part of the “distressed” trend included everything from small holes in clothes to entire areas of the garments cut out.

A sign of rebellion at the end of the 20th century turned rapidly into mainstream fashion.

However, the angry teens of the 90s were not the first ones to do it.

Of course, people often wore ripped clothes, but in gen54

eral this was done by those who could not afford any new clothes.

T

he intentional slashing of clothes has its origins very early, in a time when blue jeans were not even a concept. The practice of cutting your clothes appeared during the Renaissance. This trend, which caused a lot of scandal as it was seen as vain was called “slashing and puffing”. It consisted of cutting a garment in order to pull out the fabric from the undergarment in order to form puffs.

The reason why this practice was considered snobby was because the fabrics were expensive and thus, creating these slits (which were horizontal, vertical and diagonal) was considered a shameless show of wealth. In many ways, it was similar to the practice of “making it rain” today, where rappers throw their money in the air, thus trying to convince others that they have so much of it, that it doesn’t

even matter.

O

f course, this concept is in many ways different from wearing jeans with cuts in them, but at the same time, there is a connection to be made: both practices involve an attempt to showcase one’s presence outside of mainstream society. Both the nobility of the 16th century and the kids of the 1990s used their clothes to show that they’re powerful enough (in different ways) to go against the grain.

Hans the Younger Holbein, Portrait of Henry VIII 1540

I

t is of most interest how, in most paintings of the time, one can’t even tell that the sleeves of the portrayed nobles were ripped, it all seems to go together really well. However, around the 16th century, there was an attempt to regulate this display of wealth and a law was passed, according to which only the sleeves of a garment could be slashed and puffed, if you wanted to pull your camicia through.

O

f course, this concept is in many ways different from wearing jeans with cuts in them, but at the same time, there is a connection to be made: both

practices involve an attempt to showcase one’s presence outside of mainstream society. Both the nobility of the 16th century and the kids of the 1990s used their clothes to show that they’re powerful enough (in different ways) to go against the grain.

YRead this article with a song!

Bronzino, Portrait of Eleanor of Toledo ca. 1544–1545

55

IN THEIR OWN WORDS

Fashion Designer

Eliran Nargassi Eliran Nargassi is an Israeli menswear designer whose sources of inspiration and aesthetic are a merger between two worlds that, in the minds of most people, should collide. Inspired by his conservative Jewish upbringing, but also by his own sexual liberation journey, Eliran creates garments that are clean, sleek and filled with his emotions. The concept and thought behind the clothes may be controversial, but little by little he is making his way in the Israeli fashion scene, which is a true indicator of the embracing attitudes of the society he lives in.

“I try to put as much emotion as I can into the design of each garment” Part of what people know about you is that you come from a rather conservative Jewish background, but that you separated yourself from it – mostly because of your sexuality. What can you tell us about that?

Eliran Nargassi: I come from a religious Jewish background, but not an extreme one. As a teenager, I felt that it wasn’t a way of life that I can feel connected to, perhaps because at that time, the understanding of me being a homosexual was not so clear.

I felt like these two worlds are too much of a collision. I can honestly say that today, at age 33, I understand that it is en-

tirely possible to live the way you choose, meaning I can be a fashion designer, both gay and religious.

Everything is a matter of a personal choice, and indeed, today I feel much more connected to my sources in a more embracing and inclusive way, and in my own way as well.

All of this indirectly translates in the sources of inspiration for the clothes I design.

be. When I create, I always try to find the harmony between different aspects within my personality. To show that edges can also blend harmoniously.

How do you combine today the two?

EN: Like I said, I think you can easily combine them as long as you’re true to yourself, to whom you choose to

56 From the AW 2018-19 Lookbook Photographer: Alina Braginski

Eliran Nargassi Photographer: Tomer Ben Avi

57

From the AW 2018-19 Lookbook Photographer: Alina Braginski

ion journalism, and from the audience who is familiar with my work. I do understand that my clothes cater to the emotional needs of very specific people, people looking for a unique item, a garment that holds a personal story and to men who are looking for items that are beyond the “fashionable� discussion of seasonal trends.

What would you like to see change in your life and in society at large?

A lot of your inspiration in your designs comes from your personal experiences and from the different facets of your identity. How do you translate your experiences into fashion?

EN: Intuitively. The main element I play with in my design is translating the inspiration coming from different facets, their contrasting characteristics, and the graphic shapes of dressmaking pattern. The translation will also be expressed through the use of contrasting textiles and eccentric or monochromatic color schemes. Alternatively, I try to put as much emotion as I can into the design of each garment, by putting much thought and design work in everything down to the smallest of details.

How is your approach to clothing received in Israel?

EN: Generally, my clothes cannot be regarded as commercial. I get much positive feedback from the Israeli fash58

EN: I’d like to be more socially active for animal rights.

The change that I most desire for society and for the world as a whole is a total transition to veganism!

Why do you believe many Israeli men are not sartorially inclined?

EN: You could say that this is a correct claim. The culture of fashion in Israel is relatively laid back, meaning that convenience comes above all. Not that there is anything wrong with that. But there is definitely a cultural difference between the Israeli man and the classic European man in relation to fashion. My business is largely based online, and it translates to most of my clients being from around the world. I believe that men all over the world will find my designs suitable for them.

EN: The man who wears the NARGASSI brand is a man whose aesthetic is a way of life for him. The age range is very wide. He is a customer looking for a unique item with special attention to details.

Given that Israel does not have a strong menswear scene, do you think that can change and if so, how?

EN: The change is already here, though it is a developing process. Designers who initially did womenswear only are also doing menswear collections today, or collections that are gender neutral, in-

dicating a changing demand in the Israeli man’s interest in local fashion. We also see the change in the number of students choosing to design men’s or unisex graduate collections in the local fashion schools. You can also see it during Fashion Week in Tel Aviv, which happens once a year, where you can see a growth in fashion shows for men’s collections.

I believe that just as this movement is also taking place in Europe and that it will gradually trickle into other places as well.

From the AW 2018-19 Lookbook Photographer: Alina Braginski

Who are your clients – how can the wearer of your clothes be described?

What are you currently obsessed with, fashion- and otherwise?

EN: I try not to be obsessed in general. Certainly not fash-

ion wise. I can say though that Greek and Arabic music occupy a large part of my daily routine.

Discover more of Eliran’s designs at elirannargassi.com From the AW 2018-19 Campaign Photographer: Alina Braginski

59

7

HISTORY OF FASHION

Fashion and Ideology: An Introduction Fashion,

as what we see it today, exists since very recently, compared to the thousands of years of recorded history we have and of which we try to make sense by putting together the pieces available to us.

Initially, clothing had a purely functional role. For the prehistoric person, fur and leather had no other significances than protection against the elements for survival and a more comfortable life. But, right from the moment when man began to develop culture and social constructs, clothing became more than just a tool with a utilitarian use.

People rapidly started to adopt clothes that reflected these social signifiers. If life in different tribes was pretty much the same, the only thing that could set them apart and clearly state that they were different from one another was the clothes they were wearing. A simple change of color could have marked a big difference.

These marks of belonging developed as human societies continued to grow and con60

U

tinued to change and soon enough, they marked differences within the community itself: each individual had to wear the clothes that described his or her status and position.

Simply put, the peasants wore simple clothes, while the king gets to wear a crown.

In ancient Rome and Greece, things were already very clear.

The codes of imagery were so well established that everyone knew them and breaking them was extremely frowned upon.

Even though the important men in Rome used to wear the same toga, it was the details that described their roles and status: a simple stripe or a detail in a ring was a clear indicator of what someone was and consequentially, how he should be treated.

Even though clothing and marks of belonging continued to develop and to become more and more subtle throughout the Middle Ages, which were a time in which images were very important and the focus of interested shifted from the realism that was popular in ancient times to symbolic representations, the biggest change was yet

to happen.

The 19th century was a time that marked a very important time in fashion, ideology and the connection between the two. In the century of the industrial revolution, quite a few people knew to read and write and were more educated than people had been before.

Even though education was reserved to a certain class, the number of people who had access to education, arts and politics was quite big.

And what some of them did, changed the world completely. When French painter Édouard Manet exposed his painting “Olympiaâ€? at the Paris Salon in 1865, it literally caused such an outrage that the people destroyed the paintings that were showcased in the exhibition. The painting survived only because it was placed high on a wall

Eskimos hunting in 1920. Hunters use parts of the animals they shoot in their appearance to show that they have conquered them

and by the time the police came it had not been reached.

You might wonder what had caused these people to act so aggressively towards a series of paintings, including one of a naked woman lying on a bed?

It was not like the Renaissance had not been full of images of nude bodies. Those people reacted that way because those particular painting (many are of course lost) were contrarian to the standards of the age.

They were against the stream both in terms of subject and painting manner. You were not supposed to paint in the manner Manet did and you were not allowed to represent

nude women nominally and in the manner in which he had done it. It was the equivalent of the lèse-majesté or laesa maiestas, but in the case of art there were no judicial sanctions.

It was the first time in history

Today, Olympia is worn on t-shirts

when a group of people had enough resources to combat the stream and create a whole movement that was not only against the stream, but that was powerful enough to compete with the status quo of the age.

And so, not only was the impressionist movement born, but a whole new world appeared. Of course, when impressionism became to be considered “classic” new movements took over and that process continues to today.

One of the main channels through which a (contrarian) movement can affirm itself is through image and fashion as

61

a part of it. From there, everything simply falls into place: feminist women wore pants as a sign of their beliefs; they cut their hair and worked in factories to prove that they are equal to men. Later, when the standards of masculinity and femininity were again clearly defined, the youth movement stated once again that they were against the standards and they did it through image and music. For boys to wear long hair in the 1960s was not just a fashion statement, it was a political affirmation they wanted everyone to know!

The 20th century has seen a lot of such manifestations come and go. It is very important to note that the technological progress has extended the means of expression of the new ways of thinking that appeared: fashion became extremely connected with music; it seems that every subculture has its own sound, which was popularized by the way people listened to music.

62

When beat boxes were the hit, it was the discos where people manifested themselves, when they could take the boom box on the streets; it was the urban landscape that became the place where the music played.

The reason why all these eventually disappeared was generally either because they were no longer needed, as the new ideas were integrated in the mainstream culture, or because they simply were not very sustainable.

While today we have more complex mechanisms to signify our ideology, the basis is the same: the “simple change of color” used by tribes to set themselves apart one from another is similar to people who take sides in sporting events.

They all wear the same uniform, but the only thing that indicates what their ideology is, is the color they wear.

Today, we have come to learn that different cultures can coexist and that society can be a complex mosaic. Of course,

this is not the case all around the world, as in many parts people still react to novelties like the men who destroyed the impressionist paintings.

But there are still movements which try to fight the mainstream or another counter-culture. Some things are still way too shocking to be brought in the mainstream today, so their manifestations remain in small circles that express themselves privately or on online mediums.

In short, our clothes, our ideas and our environment are connected and are ways through which we express our ideology to the other people, whether we want to do it or not. Even the refusal of fashion is a fashion statement. The clothes we wear are not so much an expression of who we are and what we do but a tool we use to convince the people around us that we are as we want them to perceive us as.

Our clothes reflect not only ourselves, but our times, our space and many other elements. Fashion relates to the economical world and to the spirit of the time. Clothes are a very important part of any culture. They express our belonging or aspirations and the things that matter to us.

“Fashion is instant language” said Miuccia Prada and her statement sums up the concept of condensing an entire worldview in a garment or an outfit. This is why one should be conscious about their appearance, as, in the end, this is a form of expressing who you are.

STYLE GUIDE

6 Reasons to Get a Leather Jacket

A leather jacket is a wardrobe staple that is timeless and always in fashion. It is the sign of a man who values strong foundations, quality items and who wants only the best.

As more and more people are looking for high-quality items that are meant to be not only stylish, but also versatile and polished, the number of places where you can purchase a leather jacket is growing as well.

It is important to look for quality leather jackets in trustworthy shops. Of course, big labels are a good way to go, but you can find quality pieces in other places as well. For example, Mont5 (the jacket from the pictures is custom made by Mont5 for Attire Club by Fraquoh and Franchomme) is a brand that has gained a big fanbase through the Kickstarter crowdfunding website. They offer leather jackets which you can customize as you wish (that includes sizes and monograms) and are dedicated to sourcing only quality materials and keeping the whole manufacturing process eco-friendly. With a turnover on Kickstarter of over 200% of the initial asking price, they have established a lot of credibility.

Regardless of where you buy a leather jacket from, may it be from a store in a city center, an online shop or a local store, you should always invest in a quality piece, as owning such a jacket has a lot of advantages.

64

65

Durability The number one quality of leather is its long lasting character. A well-processed, high-quality leather jacket can last even up to 25 years.

In today’s fast fashion world, where slow fashion and high craft are making a come-back, many people are looking for new items in which to invest that they can wear for a decade. A good leather jacket can withstand the test of time and is one of the best items in which you can invest.

Cost If you buy a high-quality leather jacket, which costs say around $300 and wear it for more than a decade, you will find that it is cheaper than to buy 10 jackets of questionable quality that will last only for one season each, thus making the leather jacket a good in-

66

vestment on your part.

Think of it this way. If you buy a $300 leather jacket and wear it 3000 times, the cost / wear ratio is $0.1.

Aesthetics Speaking of style and tailoring, a leather jacket makes almost any man look great for a number of reasons.

Naturalness We always point out in every style guide that natural fabrics such as leather, cotton or linen should always be your first option when it comes to most items of clothing (exception being the synthetic items especially designed for sportive activities for example). Natural materials are very different than synthetic ones: they breathe, which means that they will adapt your body to the outside temperature, they don’t cause any rashes or other skin problems, they mold easily and adapt to your body, making you look great. In short, it’s like having a tailor included in the jacket.

First of all, as said, it molds easily on your body, framing it well which means that it will very likely look like you are wearing a custom piece.

Secondly, leather is a material with a bold aesthetic. Culturally, it’s charged with the concept of awesomeness and masculinity. In leather, you will look extremely badass.

Leather looks powerful, edgy and confident.

Strength Not only is a leather jacket a strong piece aesthetically speaking, but it is also a strong item from a physical point of view. Leather is extremely

strong: it can be worn in almost any weather condition, from extreme heat to rain and snow and it is resistant to dry abrasion.

Genuine leather won’t crack or peel, so it will look amazing for a long time.

It is important to note here that natural leather does have a rather irregular texture, but that is a mark of authenticity, not a sign of damage.

Also, leather is resistant against fungal attacks and dust mites. A leather jacket is partly waterproof (you can wear it in the rain, but not go swimming in it) and, if treated well, it can even resist fire, but we wouldn’t recommend testing it out.

A great leather jacket does not

require a high maintenance.

Because it is lint and dustfree, a leather jacket doesn’t need extremely special conditions when it comes to depositing.

Also, leather is an extremely flexible material and will become stronger in time. The more flexible it becomes, the stronger it gets. It’s a fashion paradox.

It is human- and environmentally friendly While leather goods are usually treated a little before being released, the amount of chemicals used is not even compared to the amount used for synthetic fibers. If you think about it, synthetic leather or faux leather is made of pe-

troleum, which is interfering a lot with the environment.

Afterwards, it is treated with chemicals that are more often than not thrown in rivers or in the ground, which further affects the environment.

For those afraid that genuine leather is somehow anti-animal, they should be reminded that more nature is harmed in the making of “eco”-leather than in the making of a genuine leather jacket.

Moreover, jackets made from synthetic leather are often made by workers who don’t work in good conditions, while quality, genuine leather jackets are usually made by people who work in better conditions, so buying a leath67

er jacket is also helping out workers and discouraging to sub-standard working conditions.

Also, due to its natural aspect, leather, when it is no longer needed, can go back to the environment, without much harm, unlike synthetic leather, which takes hundreds of years to decompose, or which is burnt and then pollutes the air.

Bonus: Leather smells good Good leather jackets have a special scent to them. While this might not sound as a very important decision factor when choosing a leather jacket, it is in fact a very important one. Not only because you will have an extra element to enjoy about your jacket, but because you can be sure that it won’t affect the smell of your fragrance or body spray, as synthetic leather can do.

Also, because leather has a natural and pleasant smell, you can pack it easily or store it anywhere with confidence, as you can be sure it won’t give out a bad smell.

Having a great leather jacket can do wonders for you sartorially. Because leather is a strong and flexible material, because it looks good and feels good and because you will feel powerful in it, a great leather jacket is a reliable piece you can wear to feel great and to give your confidence a boost.

68

LievArts.com

Four Seasons Art

TRAVEL & CULTURE

K for

KIEV

Kiev is the capital of Ukraine and one of the most populous cities in Europe. It is a marvelous city with stunning baroque architecture, great food and lots of trees. It even has a Montmartre-like street, the Andriyivskyy Descent being a magnet for painters and musicians. The air is an interesting mixture of the pre-soviet and the soviet era, now adding a third, 21st century layer to it. Recently, Kiev has also become a great shopping destination. The digital version of Vogue wrote about it “Skip the Marais district in Paris. Forget Bond Street in London. When it comes to shopping in Europe, head east to Kiev, where you’ll find covetable vintage and luxury outposts.”

Discover a series of great facts about one of the most beautiful places to visit in Eastern Europe!

70

Maidan Nezalezhnosti square in Kiev.

The Independence monument in on the left.

Photo: Tiia Monto

THE CITY OF KIEV was founded back in 482 A.D. by Prince Kyi. ARCHEOLOGICAL EXCAVATIONS have shown evidence of the first settlements on the territory of Kiev 15 000 to 20 000 years ago.

VLADIMIR THE GREAT (also (Saint) Vladimir of Kiev) was a prince of Novgorod, grand prince of Kiev, and ruler of Kievan Rus’ from 980 to 1015.

IN TERMS OF POPULATION, Kiev occupies the sixth place in Europe after Moscow London, Paris, Berlin and Madrid. As of 2013, the number of citizens was 2 822 120.

IN THE 9TH CENTURY, Kiev was the largest town in Europe, fifty times the size of London, ten times the size of Paris.

KIEV IS LOCATED 179 m / 587 ft above sea level.

KIEV is situated on the banks of the Dnieper river.

KIEV’S UNOFFICIAL LOGO is the chestnut.

YRead this article with a song!

THE ARSENALNA METRO STATION in Kiev is the deepest such station in the world.

It goes under the ground for 105 m / 344 ft. It was built in 1960 near the building of the parliament and was one of the first station built in the city. There is an urban legend according to Brodsky Synagogue.

Photo:Fedotto

71

Kiev Academic Puppet Theatre Photo: Maxim75

THE VERNADSKY NATIONAL LIBRARY, is one of the world’s largest national libraries.

THE OLDEST RESIDENTIAL BUILDING in Kiev is located in the Podil district and is more than 250 years old.

Vladimir the Great.

Miniature from a 17th-century Menaion

which the tunnels near the metro station are refuges for the ruling class.

A panorama of Kiev’s Podil district.

Photo:Stephane Martin

72

THE PARKOVYI BRIDGE, which leads to the Trukhanov Island, is the longest bridge in Europe.

THERE ARE SO MANY TREES in Kiev that you

can walk from one end to the other in the summer without leaving the shade.

THE “TROLLEY TRAIN” (linked trolley) first appeared in Kiev.

THREE UNESCO WORLD HERITAGE SITES of the seven Ukrainian ones are

The Golden Gates of Kiev Photo: George Chernilevsky

located in Kiev. These are the Kyiv-Pechersk Lavra, the Sophia Cathedral and the Church of the Savior on Berestove.

St. Volodymyr’s Cathedral Photo (cropped): Petar Milošević

THE MOST VISITED MCDONALD’S in the world is located in Kiev, with over 2 200 000 orders each year.

THE CURRENCY used in the Ukraine is the Ukrainian hryvnia.

73

FASHION AND TECHNOLOGY

The Top 3 Uses for Fashiontech Fashiontech is defined as the friendly collision between the world of clothes making and the world of high tech. The quick expansion of technology in society has also touched the world of garments making and has added many layers to the idea of clothing itself: from adding things like impact sensors on sports pieces to smart fabrics that measure one’s sleep patterns and track his overall health state into a computer program.

T

he use of high tech in fashion is a growing trend that will definitely impact the world of tomorrow. Besides the many cool and fun uses fashion tech can have, there are several real issues that may be solvable through the use of technology innovations.

Traceability. The first use technology can have in fashion is one that many people search for, and that is traceability. Back in 1980s New York City, there were real dramas going on when women came for a small mending to a boutique with their Chanel bags they had received as gifts, only to find out that the bags they had worn were in fact fakes. Thus, with the help of a combination between “tracking codes”and official brand apps, people will be able to find out whether their Chanels are veritable. Moreover, such tracking methods can be used for those interested in who made the item and where the product was assembled. A strong focus can also be placed on jewelry, as many 74

people refuse the idea of wearing accessories that were not ethically made.

Lasting products.

Even though this is a rather new endeavor, there are now clothes that are made from organic materials that can “stitch” themselves back when they tear up. Of course, this won’t probably become mainstream, as we will still need new clothes from time to time, but it could turn out to be useful in other fields such as luggage.

Health benefits. Technology is probably best put at work when it helps improve the quality of people’s lives. In the autumn 2016 issue of IC

X AC, we featured Anke Domaske’s work at QMilk, who developed fabrics with healing properties for people with skin issues. Having a cream somehow “embedded” into the garments you put on might be something really powerful for all humankind.

From bio-sensible materials to high-tech apps incorporated in our garments, it seems we’re quite close to a sci-fi world.

Now, the main issues we are dealing with are making sure that these new technologies will be organically integrated in the wearer’s life and they won’t cause more disturbance and disruption than the good they bring along. Their safety and reliableness also needs to be placed under a big magnifying glass to make sure that the new fashion still serves the purposes of fashion: personal expression, coolness and attaining a great personal attitude.

Current Obsessions October Watches

The TAG HE Carrera Chronog G

The Moritz Grossman ATUM Hamatic

The Calvin Klein Achieve

76

The Hamilton Air Zermatt

The Longines Master Collection - Annual Calendar

UER graph GMT

The Arnold & Son Globetrotter

YCheck out this feature with a song!

The Maurice Lacroix Eliros 35 mm Moonphase

77

Fashion Ahead Electronic Tattoos by

DuoSkin

DuoSkin is a fabrication process that allows anyone to create customized functional devices that can be attached directly on their skin, using gold metal leaf, a material that is not very expensive, and which is also skin-friendly and robust for everyday wear.

DuoSkin features three types of onskin interfaces: sensing touch input, displaying output, and wireless communication. It draws from the aesthetics found in metallic jewelry-like temporary tattoos to create on-skin devices which resemble jewelry. The devices enable the wearer to control their mobile devices, display information, and store information on their skin and act as a great style addition as well.

78

The creators of DuoSkin believe that in the future, on-skin electronics will no longer be black-boxed and mystified; instead, they will converge towards the user friendliness, extensibility, and aesthetics of body decorations.

This way, we can see an early materialization of a concept that is often discussed, namely that in the future, technology will be included directly “on� the wearer or that it will be a composing part of the things we will wear and use in the everyday.

The applications of this technology are already very varied, but they could have the ability to be taken to a whole different level in the years to come.

For more, please visit duoskin.media.mit.edu

79

IN THEIR OWN WORDS

Designer & Entrepreneur

Gus Dantas Gus Dantas is the man behind the Brazilian label Exodia, which offers a colorful collection of men’s swimwear. Through his label, Gus wanted to establish a two-way communication: on one hand, his collection is dedicated to the sunny beaches of Rio de Janeiro and to the people from around the world who live in that spirit and on the other hand, his brand is inspired by the same places.

Discover our interview with him!

“I think men will soon realize that fashion doesn’t need to follow a fast fashion trend” What can you tell us about your background?

Gus Dantas: I was born and raised in Brazil in the beach town capital of Vitoria, where the sea, sun and sand have been an integral part of my day to day life since I was a young boy. My parents always cultivated in me the freedom of enjoying the beach and I think this is why leading Exodia Beachwear has been so effortless on my part.

When I turned 18, I moved to Rio de Janeiro to study communications, and the physical beauty of this amazing city made me fall in love even more with the ocean and its 24/7 beachlife atmosphere. However, I did eventually move to the US to continue my studies in communication research in Philadelphia. While living in 80

America, I became interested in fashion and ended up writing my master’s thesis for the University of Pennsylvania on the flows of fashion diffusion during the 1970s and the influence of subcultures in the mainstream American culture of that period. I also took advantage of living close to NYC to travel the world as much as I could, always trying to absorb and understand the different threads that linked people, places and their cultures.

For over a decade I missed Rio’s stunning natural settings, so after I was done with graduate work I knew my place was back in Rio. Now, I’m happily involved with Exodia Beachwear here in Rio de Janeiro, where I try to fuse my love for this city and its amazing beaches with concepts and

styles I’ve been observing and experiencing across the globe.

How did you decide to lead a swimwear brand for men?

GD: It seemed to me like a perfect marriage to be able to not only live by the beach and enjoy the beach lifestyle that I’ve always loved, but to also

81

be doing something that could connect it all one place. Designing and creating swimwear for men has turned into a great passion of mine and I not only want to dress people to enjoy the freedom of a beach lifestyle but to give them something extra. Every collection I create comes with a different background story behind it, and each one is inspired by an idea that can come from an art installation, a piece of architecture, the symbolism of a color palette, or even the national flag of a country. Last year we released the collection ‘colors of Brazil’ which was inspired by the colors of Brazil’s national flag: green, yellow, blue and white. For this campaign we had models representing the different skin tones present in the colors of Brazilian men. So, within each collection I connect with people by having an extra layer of meaning that tries to bring us all closer together.

What makes Exodia different?

GD: I think that assigning meaning to everything we do is what makes us different.

For instance with our ‘BLU’ collection we picked several shades of the color blue in order to let men know what each color represented. So, by selecting a petroleum blue shade we were also trying to 82

empower men with the depths of a dark, sober and sophisticated hue. At the same time, among other shades and tones, we offered a light turquoise hue, which was meant to inspire men to connect with their inner peace, and to transpire calmness and serenity. So everything we do at Exodia Beachwear has a deeper layer of meaning, and we hope that by offering men something beyond the mere design of a swim suit, we can connect them with the world around them.

Who are your customers?

GD: Exodia has been experiencing a tremendous growth in the last few months since we did a photoshoot in Lisbon before this year’s European summer. We now have many clients outside Brazil and we are happy with the interest we are receiving from men in the US, Canada, Portugal, Ireland, Britain, France, Switzerland and Germany. We try to be an inclusive brand that has no age limits so I design for all men independently of their

age group, skin color, orientation or beliefs. I honestly believe that all men should experience the same kind of freedom that I’ve always felt living near the ocean, so that is what I try to do when I design suits and create a collection. By offering designs with styles that range from slim fit, classic or larger boxer style cuts I think men of all ages and from all walks of life should be proud to wear our swimsuits.

What is your take on the current state of menswear in general? What would you like to see change?

GD: Menswear has become too much of a fast fashion business that follows trends that come and go so quickly that many times it sacrifices quality in order to keep up with such a rapidly changing environment. I think that what I would really like to see is the return of quality and the creation of clothes that break the boundaries of time because they are crafted with timelessness in mind. That has

certainly been one of my main missions at Exodia Beachwear: give men style, craftsmanship and quality that are not after fast trends but timeless pieces that can last a lifetime.

great style and designs that are timeless.

What do you think will be the next big thing in men’s fashion?

GD: I’ve always been obsessed with traveling and seeing how people across the globe are getting more and more interconnected. In the past, swimwear was a small niche within the fashion industry, and it was consequently produced for a limited time and with limited resources. Now swimwear has gained grounds and it is a year round business because there is always a spot in the world where the sun is shining. So my obsession is to let Exodia fly and take over the sunny spots in this amazing world!

GD: I think men will soon realize that fashion doesn’t need to follow a fast fashion trend if they invest in pieces that are made with quality, timelessness and craftsmanship in mind. For swimwear, in particular, I think men will soon be able to make a distinction between brands that are just out there to provide something quick and cheap, which will end up fading rapidly, as opposed to brands that care about dressing men well, with

What are you currently obsessed with, fashion- and otherwise?

Discover Exodia at exodia-beachwear.com

83

THE ATTIRE CLUB MOOD DIARY 84

Our mood board as a visual journal

Court Dress & Heraldry In the 16th century, a combined ‘Hofkleiderbuch’ and ‘Wappenbuch’ (court dress and coats of arms book) was created in Bavaria, which is today in south-east Germany.

The book features beautiful illustrations of the of the nobility of the time and heraldic insignia from the Royal Courts of William IV (Wilhelm) and Albert V (Albrecht), who were 16th century Bavarian Dukes from the House of Wittelsbach.

The artwork is a great insight into the lives and times of the nobility of Bavaria and represent the interesting mix of clothing and ideals, as the two go hand in hand and are each an expression of each other. Discover a selection of these paintings in our mood journal.

85

86

87

88

89

90

91

92

93

94

95

AC WORLD

Frames & Leaves

E

very season, we put in practice an exercise in style, where we try to essentialize in a few accessories or items of clothing what the new heights of fashion and style are. It’s hard to combine conceptual elements such as how the world is, where it might go and where we wish I’d go, but the style portfolios we put together communicate in the end exactly what we want.

Here’s a look back at the autumn-winter 2017-18 season, Frames & Leaves.

F

or the autumn-winter 2017-18 season, we decided to create a style portfolio featuring pocket squares and bow ties that bring energy and vibrance to the cold months. The idea behind the accessories and their photos was to think of a bright spot, its contents and of the fact that it is framed by old, decaying elements. This is what progress and movement

96

is, after all. The old structures of the past serve as a starting point and setting for what’s to come. Of course, the future cannot be predicted, even though it can be thought of, but this doesn’t mean that one can’t imagine it.

A very important question when dealing with the future and transforming the present in the future is what hap-

pens with the past. The best thing that can happen is for it to serve as a frame on which things are built, but not necessarily within the now is constrcuted.

Featuring unexpected combinations of colors and prints, the pocket squares and accessories carry a lot of motion and dynamism. They have a lot of movement to them and

97

yet are calm, denoting a more optimist approach than a pessimistic one.

With accessories, it’s always important that they are strong and that they express the wearer’s personality and emotional state or that they complete a carefully put together outfit.

Because our accessories have been praised by clients and professionals and we are now also creating on-demand pieces that tell stories about the wearer’s stories, may it be their career, the personal or the in-between.

The details of a look are what makes it complete. They are also what determine whether a look is good or not. This is why; one must always pay attention to the details when they want to have a great sartorial experience and to make sure that they can feel confident that their look supports their attitude.

Discover more at attireclub.org 98

SUBSCRIPTION

Subscribe to InCompany by Attire Club to make sure you receive your beautiful print copy of each edition.

With a focus on quality and sophistication, InCompany by Attire Club magazine explores the fashion world in an original and creative manner. Featuring interviews with creative talents, style guides, stunning photography and carefully curated products and travel recommendations, the goal of the magazine is to present more than the typical fashion publication.

Capturing a compelling image of the fashion world, the issue covers both the independent and mainstream areas of fashion and from the very ethnic and old-school to the latest high-tech innovations.

Go to attireclub.tictail.com to buy the subscription for just $102 (about â‚Ź86) or just scan the QR code on the left.

QR Code Glossary

Discover the websites featured in this issue!

Baselworld u baselworld.com Page 2

MB&F u mbandf.com Page 15

Transylvanian International Piano Competition u tipnoc.com Page 25

Eliran Nargassiu elirannargassi.com Page 59

Atto Verticale u attoverticale.com Page 63

Liev Arts u lievarts.com Page 68

BOOM Watches u boomwatches.com Page 75

DuoSkin u duoskin.media.mit.edu Page 79

Exodia Beachwear u exodia-beachwear.com Page 83

100

Always Addressing Power Dressing

AttireClub.org

See you online! attireclub.org facebook.com/attireclub twitter.com/attireclub pinterest.com/attireclub instagram.com/attireclub attireclub.tumblr.com vk.com/attireclub shop@ attireclub.tictail.com

IChAC

John Singer Sargent, Perseus on Pegasus Slaying Medusa 1921-1925 Because who is a rebel more than the one who conquered the eyes looking back?